Exhibition: Feet, 4 Walls & Head

Feet, 4 Walls & Head Gizela Mickiewicz & Roman Stańczak organized by Galeria Stereo, Warsaw September 12 - October 25 2015

Bureau is pleased to announce our exhibition opening the fall season: Feet, 4 Walls & Head, a collaboration with Galeria Stereo from Warsaw Poland. This two-person exhibition features Gizela Mickiewicz and Roman Stańczak, sculptors from two different generations in Warsaw, both working with everyday objects and materials. Their works converge at points of material transformation. Mickiewicz focuses on the metaphysical potential of sculpture while Stańczak’s work is exceptionally physical, bending objects to his intense spiritual will.    Imagine a simple drawing of a human body and a space at one time. Feet, four walls and head. A sculpture. It would also be a representation of an inner space understood as a place of intellectual and emotional events, where walking and thinking mean basically the same – a passage from one thought to another, through the chaos. Gizela Mickiewicz and Roman Stańczak both rework these kind of inner walks and shape them into sculptural forms. These forms derive from everyday experiences and are built of common materials and objects such as glass, sand, cement, steel, mirror, an iron, a bathtub, a cupboard. While the material world is the matter, the works refer to the body and the self and space. “My sculptures speak about life, however, not among objects but among spirits”, says Stańczak. His works are usually made out of distorted objects, and his practice is based on obsessive repetition of a sculpting gesture, extended until the ordinary object absorbs the energy dedicated to it and is transformed. Mickiewicz recently realized a series of sculptural works that illustrate complex mental states. Shapes, textures and weight of matter, as well as relations between objects create messages reflecting the emotional tensions and subtleties specific to internal states. Therefore a state not easily expressed in words finds its material representation, physically embodied. Gizela Mickiewicz (b. 1984, lives and works in Warsaw) graduated from the Academy of Fine Arts in Poznań, Poland. Solo shows include: Stereo, Warsaw (2015, 2011), Frutta, Rome (2013), BWA Zielona Góra, Poland (2013). Group exhibitions include the XII Baltic Triennal at CAC, Vilnius; Bunkier Sztuki, Cracow; Kunsthalle Bratislava; and “As You Can See: Polish Art Today”, Museum of Modern Art in Warsaw. In 2014 Mickiewicz completed a residency at Gasworks, London and had a solo project at Frieze London. Roman Stańczak (b. 1969, lives and works in Warsaw) graduated at Academy of Fine Arts in Warsaw. He presented several solo exhibitions at CCA Ujazdowski Castle and Sopot PGS from 1994-97 after which he ceased his artistic practice and disappeared from the art scene. In 2013 Museum of Modern Art in Warsaw presented Stańczak’s works from the 90s within a collection exhibition and he realized a new work for Sculpture Park Bródno in Warsaw. In 2014 Stańczak presented his first solo exhibition at Stereo, Warsaw. Future projects include a solo presentation at Frieze London this fall. Gallery hours: Wednesday - Sunday 11 - 6 p.m. For more information contact office@bureau-inc.com

This exhibition has been supported in part by the Adam Mickiewicz Institute and the Polish Cultural Institute of New York.

In the hallway of a gallery space, a horizontal wall sculpture is hung on the right wall. The sculpture contains rows of industrial materials including concrete and steel. In the background is a larger gallery space containing a large metal sculpture of irregular shape.
In the center of a white wall, an abstract, horizontally oriented sculpture. The work is comprised of various industrial materials. The materials are arranged in such a way suggesting repeating rows or wave patterns.

Gizela Mickiewicz, Obscuring the Rest, 2015, Concrete, corrugated spring, steel pipe, corrugated PVC, plexiglass, cotton, 23 × 72 ½ × 2 ½ in.

In a gallery space are three sculptures. The sculptures are all comprised of industrial materials. The object in the foreground is a small, rectangular, architectural structure. To the right is large dark gray object resembling a dome or grave. In the background is a freestanding metal object with wiring components. On the left wall is a painted, abstract wall work.
In a gallery space are two objects. The object in the foreground is a small, rectangular, architectural structure, resting on the floor. To the right is an abstract, wooden object hung on a white wall.
In a gallery space, a freestanding object is in the center of a room. The object is made out of large pieces of metal. There is a part of the object resembling a clothing iron with its wiring connected to several areas of the overall structure. A doorway is visible to the left of the object.

Roman Stanczak, Static Oblivion, 2015, Steel, 3 irons, cables, adhesive tape, 78 ¾ × 59 ½ × 12 in.

In the center of a gallery space, a large object resemble a tomb stone or grave. The sculpture has a rounded, dome-like structure on the top of the base. The object resembles gritty, industrial material.

Roman Stanczak, Misquic II, 2014, Bathtub, steel, 32.5 x 68 x 33

In the corner of a gallery space, a triangular, mirroring object. The object fits precisely within the corner of the room, nearly touching both walls, placed on the floor.

Roman Stanczak, Angle Glare, 2015, Mirror, glass, adhesive tape, 57 × 28 ½ in.

In a gallery space, a free standing sculpture. The object is constructed out of two vertical poles touching the base and floor. At the base is a net-like structure. Folded over the top of the sculpture is a sheet of transparent fabric

Gizela Mickiewicz, Total of All Distractions, 2015, Reinforced glass, metal pipes, wire, tulle fabric, 70 × 36 × 6 in.

In a gallery space, a sculpture rests on the floor, close to a white wall. The object is constructed out of a stack of material, placed in a rigid geometric pattern of crisscrossing elements. The object resembles a sand, architectural structure.

Gizela Mickiewicz, You Should Have Seen It Coming, 2015, Steel grid, OSB, sand, glue, 12 ½ × 25 ½ × 22 ¼ in.